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Olive Days




Part of the CONSUME BUY 2006 series of limited run cdrs that were available only during 2006, then promptly discontinued.


Reviews

Reviewer: Robert Humbolt - - August 3, 2011
Subject: Olive Days
RAFAEL FLORES "OLIVE DAYS" (CDR by Zeromoon) That Rafael Flores is back on the music scene we knew, we reported about this in Vital Weekly 513. After a long period of silence, following an outburst of creativity in the mid eighties when he released music under the name Comando Bruno, he returned with a great CD for Monochrome Vision. The music on 'Olive Days' is utterly fresh, one part recorded from May to July this year and a live portion recorded in July 2006. I am sure he has up dated his equipment from whatever analogue stuff he was using before to computer treatments, but the input, say the field recordings, are still of a rather primitive kind. The first nine tracks are studio tracks, studies in taking one sound and moving them about for a while, shifting them up and down. The four live pieces didn't hardly differ from the studio, except that they sounded a little more roughly shaped. It's hard to say to where Flores gets his sound sources, but it still might be very simply the radio or taping electrical devices. Although 'Olive Days' is not the same blow that 'Nubes Rumores/Cometas Y Orugas' was, it's still a lovely work of ambient industrial music. (Frans de Waard / Vital Weekly 541)

Rafael Flores "olive days" reviewed by Sascha Renner on earlabs.org 8-9-2006.
His new album "olive days", released on the american label zeromoon is a minimalist one of its kind. Most of the thirteen pieces manage to enthral with one, sometimes two single layers, which have been chosen carefully. This fine selection demonstrates Rafael's experience, adopted during the long time he is making sonic experiments now. His sounds derive from field-recordings, sinus-tones, distorted crackles and drones, white noise and the like. There is a strong red thread spinning continuously through his well structured pieces, which captures my attention. In contrast to the first nine pieces, that were recorded and mixed in the studio, the last four tracks were recorded live at "atv" this year. In o-live1 it appears to me Rafael works with time stretched voice, the second live piece sounds like field-recordings of a room with machines running. o-live4 deals with heavy distorted crackles followed by a dry drone maybe derived from recorded wind. All in all, Rafael created a very strong and coherent collection of skillfully structured work.
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